Head Hunting - National Flute Association

HEAD HUNTING
By Melanie Sever Jordan
process which can be controlled. Knowledge is one
of them.
P
Above: Peter Swinkels (Adams European Flute Center),
Sarah Merrow (Syrinx Flute Repair),Melanie Sever Jordan,
and Tobias Mancke (Mancke Flutes) at the 2009 NFA
Convention in New York City.
H
eadjoint Purgatory. "I've been in headjoint
purgatory before and it is not any easier this
time around," laments Los Angeles flutist
Charles Andrews.1 Andrews exemplifies the elusive
dilemma; while looking for his ideal sound from a
variety of headjoints,
ts, he wistfully remembers what in
20/20
20 hindsight seems to have been the perfect
headjoint he let go years before. Whether you have
searched for a new headjoint at some point
point, currently
are in the midst of, or contemplating beginning the
search for a new headjoint, you have most likely
encountered your own dilemma. At some point in this
search, which inevitably comes to all serious amateur
and professional players, there iss a time when one
feels overwhelmed and confused. Perhaps you even
realize some information you have been given by
well-meaning advisors is not accurate.
Andrews continues, "My ideal flute sound would
be the sound of a flawless early Louis Lot, made
much bigger, more projected, but with the sweet,
dense, complex quality the best Lots…can have."2
Wow − not much to ask. This description is loaded
with the sometimes directly opposing needs and
desires of today's flutists − the need for more
projection, the desire to feel louder, and the musical
sensibility which drives both the need and desire to
create a variety of colors.
Flute industry insider Sarah Merrow of Syrinx
Flute Repair near Boston illuminates the complexity
of searching for a headjoint. "It's not simply a
question of what feels good or sounds good; there are
lots of factors to consider − color, projection,
flexibility of tone, stability of tone, homogeneity of
tone, volume, resistance − all to be evaluated, along
with the ease or difficulty of playing, compatibility
with one's style of playing, professional
requirements, and other physical needs."3 There is no
magic formula to guide the process for choosing the
best headjoint, however, there are elements of the
© 2009 Copyright by Melanie Sever Jordan
reparing for the Hunt. Artistic desires aside,
it is vital to invest the time to become as
informed as possible when considering the
purchase of a new headjoint, because headjoints are
expensive. Ranging from $1500 USD for all silver to
in excess of $7500 USD for those containing gold
and/or
d/or platinum, professional headjoints are a
significant, and generally appreciating, investment.
From the artistic standpoint, the headjoint helps
give an individual 'voice' to the flutist's sound. The
right headjoint match for the performer's needs and
preferences can contribute to a unique artistic identity
that allows the performer to communicate fully with
the audience, to blend flawlessly with his/her
colleagues, and to be free to produce and to enhance
the production of desired tone colors. It aids
a
in
allowing the music to flow unrestricted and
undistracted.
T
he Headjoint Market. The market has seen
an explosion of choices in specialized
headjoints over the last twenty-five
twenty
years.
Since Albert Cooper's improvements to the
traditional Boehm [1847]
847] headjoint design in the
1960s, there has not been greatly significant variation
in the design measurements. In fact, Cooper feels that
embouchure hole design has not really changed since
the Louis Lot flutes of the late nineteenth century.4
However, even
ven slight variations can make big
differences. These slight
light variations are wherein lay
the infinitesimal differences between each and every
headjoint.
Though patents exist for some new methods,
Merrow points out that several Boston makers base
their designs on those by Cooper. The current
industry standards for risers originated from Cooper
or Cooper-influenced
influenced design. His gauges were also
on the market for the price of the tool and not
patented still to this day. From
rom discussions with
Trevor Wye, Merrow
rrow also learned that Cooper was
generous with his expertise, willing to share his ideas
and techniques with those who sought him out. Flute
makers Haynes and Powell, where many of the new
Boston makers started their careers, based their work
in the early twentieth century on the old French flutes
until makers everywhere slowly adapted to the
changes introduced by Cooper. 5
Although flute makers generally acknowledge the
significance of the headjoint, Merrow suggests that
when it is heard from a maker that the majority of the
sound comes from the headjoint, there is a likelihood
that person makes only headjoints.
joints.6 It should be noted
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HEAD HUNTING
that headjoints are a very lucrative business. Since
Cooper, the headjoint market has become big
business. Whereas a flute maker on a small scale can
produce only a few flutes annually, the maker
focused exclusively on headjoints can produce
dozens if not hundreds. Cooper stated in a 1988
interview with Alexander Eppler, "…over the last ten
years [1978-1988] I've only made headjoints. The
headjoint market is so good, unbelievable!"7 Cooper
observed that the majority of London flutists used a
headjoint other than that which originally belonged to
their instrument.8
Many people are very passionate about – and very
loyal to – the headjoint maker with whom they are
connected. "The relationship between the object
[headjoint] and the art produced [tone and music] is
very intimate," says Merrow. She points out that
there is "something very evocative and desirable
about the maker making something that passes into
the hand of the artist…the connection between your
music and their [art] (determines) how you place the
value on it."
Today, the process of manufacturing a headjoint
can range from fully machined, to partially machined
and hand-finished, to an entirely all hand-made
process from beginning to end. The question arises
for each of us as to whether or not we place more
value on a headjoint hand-made by one individual as
opposed to one that has been partially or wholly
machined.9 Is this a real or perceived value and does
it make a difference which one it is? Knowing our
own preferences can aid the process of selection, and
ultimately increase our satisfaction with a headjoint.
Whether drawn to the characteristic flute sound of a
large-scale maker, or to the work of a smaller
individual maker, it is helpful to know what it is
about a headjoint that appeals to you. With this
knowledge you can identify all the makers that may
fulfill the same parameters and provide more options
to try.
The flutes made by some of the largest flute
makers such as Powell, Brannen Brothers, Inc.,
Muramatsu and others, will carry a certain set of
characteristics that can be claimed to be that maker's
sound. The efforts of the headjoint makers in the
larger companies are intentionally focused to
maintain a certain brand sound. In Powell's marketing
literature for instance, they capitalize on what they
call 'The Powell Sound' which they claim is
characterized by "color, clarity, depth and
projection."10 Elizabeth Watson, headjoint maker at
Brannen Brothers, Inc., gives perspective to the
exacting nature of the business when she points out
that "as a headjoint maker you're not fighting to be
different; you’re fighting to be consistent."11 In her
© 2009 Copyright by Melanie Sever Jordan
By Melanie Sever Jordan
experience Merrow has observed that makers
"…need to compromise between what they want to
make, what they love about their 'best work', and
what actually sells in the current marketplace."12
Consistency within that balance of compromise gives
each maker its own identity.
A specialized headjoint maker has somewhat more
flexibility because he/she does not have to maintain a
certain “brand sound” or build very large numbers of
heads. Tobias Mancke of Mancke Flutes, a rapidly
emerging German headjoint maker, asserts that the
specialized maker is therefore able to work more
closely with players to customize and potentially
react more quickly to the demands of the market.13
The small makers will point out the advantages of
working directly with them as flute maker Dana
Sheridan elaborates:
One person making headjoints as opposed to a
larger company offering heads brings the same
perspective and goal with each head. All aspects of
the work are accomplished by the same person and
therefore have a consistency that may not be offered
by a large company. A player must be drawn to a
particular maker’s work. If that maker is willing and
able to work with the player to iron out small
problems to get the best possible results in all
aspects, then the player is best served.14
I
nfluences on Headjoint Design.
Sheridan
points out that the one aspect of flutes that is
universal is that the bodies are made to accept a
head that has a length from the bottom edge of the
tube to the center of the hole of 150mm.15 This
allows players to choose from virtually any brand of
head that otherwise fulfills the necessary criteria.16
This single aspect, more than any other, seems to be
the factor that has set up the possibility for the
headjoint market to exist as it does.
Sheridan has a unique perspective on the industry.
Generally recognized by other flute makers as one of
the foremost experts in the field, his career started
with the major Boston flute makers in the early 1970s
through to a transition with his own successful
company and has spanned the period of time that has
seen the greatest evolution in the modern headjoint
market. He observes that:
From the eighties till now, the general trend in
flute sound has been going darker… Particular
players have become much more discerning,
because of the variety of heads being offered.
They have much more choice and, therefore, can
continue to try other
brands until they
have found the perfect match for themselves.
Players who truly know what they are looking for
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HEAD HUNTING
can eliminate heads quickly that don’t meet their
needs.17
Mancke further comments:
Over the years it turned out that flute players want
a more personal sound from their flutes [than]
what the standard heads of their flutes give them.
So we developed a wide variety of sound
changing combinations of materials such as
precious metals, different kinds of woods, crowns
and cuts. In this way we are able to offer lots of
combinations to deliver the widest variety of
complex sound, articulation and colors. Players
are looking for a complex, unique and personal
sound. A comfortable and safe playing feeling
consists of not only the color of the sound, but
also articulation, projection, fine balanced
resistance for personal taste and feel.18
Mancke stresses the importance of working
closely with professional players from all over the
world to keep aware of the trends and demands in
playing needs. "The global flute world is always
following certain players and teachers. Our close
contact to them gives us the opportunity to react on
certain trends and demands."19 There are also many
examples of collaborations between major makers
and high-profile professional players including Sir
James Galway with Nagahara, Ransom Wilson and
Paul Edmund-Davies with Powell Flutes as well as
collaborations with innovative smaller makers such
as Brannen Brothers, Inc. with headjoint makers
Cooper and Lafin.20
Although image surely plays a role in the market –
you cannot deny there is certain status to owning and
playing a gold flute – it is not the only driving force
behind the popularity of the gold and platinum heads
and flutes. Makers generally agree that gold and
platinum provide heavier resistance and the potential
for darker tone colors and larger sound from the flute.
The desire for a bigger sound with greater projection
within today's larger orchestras is also driving
changes in headjoint (and flute body) style. Kanichi
Nagahara of Nagahara Flutes comments:
[I] believe that there is a great difference which
can be heard and felt when playing on Gold and
Platinum versus Silver. Although I have no
numbers or equations to prove the effects of Gold
and Platinum in sound production, I have my
experience of 30 years of hearing different
flutists, and experimenting with different
materials that lead me to this conclusion. The
gold and platinum materials have louder and
© 2009 Copyright by Melanie Sever Jordan
By Melanie Sever Jordan
richer resonance than silver (especially platinum
being the most dense of them).
I believe makers went along with the evolution of
the popular culture of classical flutists who have
come to want a louder sound. Greater projection
is required to play the more challenging concertos
with 60+ piece orchestras. The flute is now
competing for sound attention in larger
ensembles. It is no longer the case that baroque
music with smaller chamber ensembles are most
common. As it is seen in America in most cases,
bigger is better, so that reflects in the new found
needs of flutists as well. Once upon a time it was
wooden flutes that were popular until silver took
over. Now is the era of Gold and Platinum.21
Nagahara explains that "the material of a headjoint
can improve resonance and sound projection. For
example, take a silver flute with a silver headjoint; if
you were to place a gold headjoint w. platinum riser
on this instrument, the body of the flute would
resonate completely different...many might even say
it sounds and feels like a completely different
instrument. When you place a stronger material
headjoint on a weaker material body, the body will
resonate more and vibrate greater because the sound
chamber (headjoint) is infusing the body with more
sound."22
However, Peter Swinkels, founder of Adams
European Flute Center in Holland, which is one of
the largest resellers of high-end flutes and headjoints
in the world, points out that the bigger bore, heavier
wall flute with larger tone holes requires a different
headjoint to make it work the best. The body and the
head are interdependent and the head should match
the resonance the body carries. This goes both ways.
Sometimes the headjoint can be too resistant for the
body, causing the flute to lose its brilliance.23
Some players specialize in performance areas such
as chamber music or contemporary music and have
needs for instruments that blend, project and respond
differently than the orchestral players. And of
course, many players perform in multiple settings: in
an orchestra, as a soloist and as part of a chamber
group possibly specializing in period music. These
players may choose to have a separate headjoint that
fits each of these needs. Most players, however, are
looking for that one headjoint that will allow them
the flexibility to play across all different demands.
Another potential pressure on the market comes
from the increasing age of a large segment of active
professional flutists. Merrow points out that fifteen
years ago many of her clients were part of the young
professional group of players who were looking for
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HEAD HUNTING
extraordinary sound however it could be had. Now
this same group has changing priorities. Some are
looking for something that gets the job done just as
well, but that doesn't require as much effort to play
well. The need and desire for a headjoint that makes
this possible will have an effect on what the makers
choose to market to this growing demographic of
players.24
P
rojection vs. Loudness. As one of the great
modern innovators in headjoint design, Albert
Cooper observed throughout all his years
working with headjoints and players, that the louder a
headjoint plays, the more the flutist likes it.25 Both
Andrews and Merrow use the terms "projection" and
"loudness" in the comments above, and as you speak
with colleagues, makers, and dealers, these terms will
no doubt have part in every conversation about
headjoints. It seems, however, that they are
sometimes confused as part of the same aspect.
Merrow comments, "If there is one thing I would like
people to know it is that there is a difference between
loudness and projection. [A] pianissimo [dynamic]
can project and it doesn't have to sound loud around
your head."26
Swinkels observes that the aspect of loudness is
more easily felt by the player than the aspect of
projection. He perceives that because flutists hear the
sound close to their heads, like you hear your own
voice, there is this extreme interest in finding a sound
that appeals specifically to each person. Just as your
voice sounds different to you than to others because
of the uniqueness of your individual resonators
[mouth, nasal cavities, etc…] and unique perception
of sound, so does the flute sound. There is, therefore,
potential for as many different 'favorite' sounds as
there are people. Interestingly, he has observed
through his extensive experience, the differences in
sound diminish to such a degree (due to the acoustics
of the environment) that a very good player can
achieve nearly the same the sound on wood, silver or
gold to the listener only a few meters away.
However, he points out, that is not to say there are no
differences in the headjoints, but that the perception
of differences is perhaps greater to the individual
player than to the listener. When asking for opinions
from others while trying various headjoints, this is
something to consider.27
T
uning, Color, and Responsiveness. There is
no question as to the importance of the
headjoint to the flute, the player, and the
listener. The headjoint is an acoustically active body
which has an effect on the total performance of the
flute. Although it is mechanically simple, it has the
© 2009 Copyright by Melanie Sever Jordan
By Melanie Sever Jordan
potential to enhance or limit tuning and response of
the flute.28 Headjoints on our modern Boehm system
flutes consist of only four main parts: 1) the tube; 2)
the lip plate assembly; 3) the stopper; and 4) the
crown. The lip plate assembly consists of the lip plate
and the wall, also called the chimney or riser.
The traditional stopper is also an assembly of the
cork, a threaded rod, nut and metal disk – also
referred to as a cork plate. See the section entitled
"Innovations and Modifications" for other types of
stoppers.
1 -Tube
2 -Threaded
rod, nut and
cork plate
3 -Lip plate
4 -Cork
5 -Crown
In relation to the headjoint's potential effect on a
flute, flute maker James Phelan points out a well
known principal of acoustics, "The closer anything is
to the source of vibration, the more important it is."
He describes how the headjoint determines subtleties
of both sound and playing characteristics. Because
the headjoint is where the sound is initiated it
determines the flute's responsiveness and flexibility.
It also strongly influences the mix of harmonics in
the sound and most importantly it affects the tuning
of the flute.29
Tuning. Through his experience, Cooper noted
that some headjoints worked better with his improved
Cooper Scale than did others. 30 According to
Sheridan:
The form of the headjoint tube plays an extremely
important role in the intonation. Without this
taper the flute could not be played in tune. This
shape varies among makers and can cause
problems for certain combinations of flutes and
headjoints because the flute scale (meaning the
placement of tone holes along the body) was
conceived for a particular type of taper…A
headjoint can help the intonation of a flute not
only by the shape of the tube, but also if the head
responds well, the player has more flexibility with
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HEAD HUNTING
the embouchure and air stream to make necessary
changes in pitch.31
Sanford Drelinger of Drelinger Headjoint Co.
elaborates on this:
My experience has shown that both traditional
and modern scale flutes can be optimized with the
right choice of headjoint. In my opinion, the right
headjoint is, in part, one that allows the flute to be
played both more in tune with itself and other
instruments in a natural and unstrained manner…I
often advise people with high quality, traditional
scale, standard pitch flutes not to change to
another scale without first trying a wide variety of
headjoints with their present instrument. More
often than not, the selection of a new headjoint
eliminates the desire to seek an entirely new
instrument.32
Nagahara suggests also that the headjoint affects
intonation in this way:
Intonation can be improved with a well cut
headjoint because it provides better embouchure
control for the player. Although the intonation of
an instrument is defined by the body's scale, the
embouchure is responsible for probably half of
the intonation control. If you have better control,
response, articulation, and projection on your
headjoint, it will reflect on the overall
performance of the instrument.33
Tonal Color. The most obvious effect of the
headjoint is to give different strengths and tonal
widths in various parts of the octaves. There are a
number of reasons for the different headjoint
characteristics. Manufacturers use different parabolic
curves for the headjoint tube as well as varying
embouchure hole sizes, angles and depths. Different
materials can also be used for each piece of the
headjoint.34 Merrow describes these technical aspects
of headjoint making and how they affect tone and
response in her excellent article "Headjoints: Mystery
vs. Mastery."35 A maker will have identifying sets of
these characteristics that give the headjoint a
particular overall character, although each and every
headjoint is still unique.
In a discussion of the characteristic of tonal color,
Merrow shared that in fine tuning headjoint choices,
great players will play a gentle melody pianissimo.
She says, "If you can play pianissimo with color, you
can play anything." But you cannot seem to have
both color range and a headjoint that is immediately
easy to play. It is important to keep in mind that the
© 2009 Copyright by Melanie Sever Jordan
By Melanie Sever Jordan
color potential of a headjoint decreases with an
unbalanced cut for loudness. The headjoint with more
color potential also makes a player work harder to
use that potential. Players have come to expect a
homogenous sound throughout the registers where
they can sing high and belt low, but much color,
warmth and flexibility has been lost with trying to
provide the 'wow' factor. She suggests that when
considering a fine headjoint with great color
potential, a player needs to take it home for a week
and get used to it to see what it has for them. In
consultations with her professional customers,
Merrow finds that some want homogeneity of tone
and consistency of technique. Others prefer to work
with what she calls a 'meatier, more complicated'
instrument. Because of her varied background in the
industry, she can appreciate these differences, and, as
she points out, "(it) works out in the market place
because there is something for everyone out there."36
Responsiveness. A player will advance more
quickly and to a higher standard if an appropriately
responsive headjoint is used. The more resistant a
headjoint, the more color potential possible. More
advanced players usually look for this characteristic
which, although it takes more flexibility and skill,
also produces more interesting results. In the
headjoint making industry, headjoints are referred to
as traditional cut, modern cut, or some combination
in between. Generally speaking, the modern cut
provides a louder and quickly responsive headjoint. It
feels flexible and efficient, requiring less overall
effort to play. The traditional cut has more resistance
and in return, a larger variety of tone color. It is
flexible yet stable with a rich full sound and requires
effort (finesse) from the player to bring out its
qualities.37
Responsiveness of the headjoint as relates to ease
and clarity of articulation, flexibility and dynamics is
another characteristic that affects the overall playing
of the flute. As discussed in the following section on
materials, articulation and flexibility may generally
improve with the addition of platinum in the riser or
cork plate. However, a perceived improvement can
be found in response with any number of
combinations of materials.
An interesting story from Merrow points to what
seems at first to be an improbable effect of the
headjoint on the aspect of mechanical response of the
flute. A long time professional client of hers ventured
to describe an unexpected response she had while
trying two headjoints. She noticed that her flute
actually responded better mechanically with one of
these headjoints than the other. Although at first it
seems as if there could be no connection between the
headjoint and the mechanics, it caused Merrow to
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HEAD HUNTING
speculate as to whether air pressure travelling
through the flute may be related to necessary finger
pressure so that different headjoints may affect the
experience and feel of the mechanism. When I asked
others for opinions of this phenomenon, some
interesting postulations were presented ranging from
perceived effort versus resistance of the headjoint to
vibration delays across certain materials or resistance
quotients. Kanichi Nagahara suggested, "…part of
the technical part of the instrument's performance
comes from the articulation and embouchure control.
A headjoint that enables a player to articulate better
will in fact aid the player to synchronize both tongue
and fingers more accurately, thus creating the notion
of improved technique."38 But currently it seems that
there is no definitive answer to explain it. This
certainly bears further research.
M
aterials Used in Making Headjoints.
Headjoints initially were constructed
entirely of like materials, i.e., all wood, all
silver or all gold. But as makers and players tried new
combinations, it was found that desirable differences
in tonal quality or color could be obtained by using
differing materials for various parts of the headjoint.
Today, more varieties of materials are being used to
make headjoints than ever before. Headjoints can be
found with varying combinations of silver, gold,
platinum, metal alloys, and different hard woods.
Beginning with the riser, or chimney, makers
began using different materials such as gold or
platinum at the striking edge. The gold offered a
generally warmer/darker sound and the platinum
offered cleaner articulation coupled with greater
projection when compared to the all silver riser.
Many makers now offer a variety of combinations
such as all gold embouchure plates, wooden plates on
metal headjoints, wooden headjoints with various
metal risers, and even (as in the case of some Mancke
headjoints) a metal tube with wooden lip plate and
metal riser. Even the cork plate and crown can
consist of differing materials.
However, as Drelinger is careful to point out,
while changing the material of the riser or lip plate
does impart certain discernable characteristics, the
presence of a gold lip plate or riser does not give the
total sound of a gold headjoint. The characteristic
timbre comes overall from the material of the tube.39
Traditional silver heads also vary in wall thickness
from the thinnest of .014, to the most common of
.016 and finally the thickest of .018. Thicker tubing
darkens the tone color and increases the resistance of
the flute as do other materials.40 Mancke sheds light
on the use of various materials:
© 2009 Copyright by Melanie Sever Jordan
By Melanie Sever Jordan
Based on the … characteristics of a silver
headjoint, adding other materials brings
the
following
average
changes
and/or
enrichments:
Gold − warmth, comfortable resistance, depth,
complexity.
Platinum − more precise and faster articulation,
projection, wideness. Best used in combination
with gold.
Wood − warm intimacy, darker sound.
All these characteristics, however, are highly
influenced by the way of manufacturing. It is very
important to keep and honor the specific sound of
the material in a way that the player can use them
to his own specific demand. Further it is
influenced of course by the way of playing and
the combination [with] the body of the flute. For
example, a platinum riser gives the headjoint
more wideness, safe and comfortable articulation
and good projection. A wooden lip plate on a
metal headjoint mixes the quick response and
projection of the metal with the warm and
intimate depth of the wood. The use of a gold or
platinum crown and cork plate enriches the
presence, volume and projection as well as
improves playing comfort.41
I
nnovations and Modifications: Crown and
Stopper Assemblies. In addition to using
different materials for the lip plate assembly and
tubing of headjoints, makers have also applied them
to the crowns and stopper assemblies. You will find
many headjoint makers offering traditional crowns of
heavier materials such as gold and platinum. There
are even jeweled crowns offered by some specialty
shops. The cork plate and screw can also be made of
different materials. Mancke observes that there has
been increasing "demand [for] gold screws and
platinum risers. People are willing to pay more to get
a better sound."42 Some makers have even invented
new types of stoppers and crowns. Examples include
the Nagahara Locking Crown, the Bigio stoppers and
crowns, the Dyna® Flute System by Michael de
Bruin, and the Performance Flute Plug by Bob
Ogren. Each have specific effects on the sound and
response. 43
Both Kanichi Nagahara and Robert Bigio have
found dramatic changes to the resonance and
response of headjoints with their crowns. Nagahara
discusses the locking crown as follows:
The locking crown was created mainly after a
request from Sir James Galway to make a crown
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HEAD HUNTING
that would not come loose. With that idea I
created a two piece crown consisting of a base
and a top section. On the base we placed
additional weight making the entire headjoint
more dense. The additional density makes the
headjoint vibrate quicker. Although I have no
scientific proof of the effects of the locking
crown, we have done several experiments with
different flutists and the general consent is that it
provides better focused projection, an ease in
articulation (cleaner/clearer), great soft attacks in
the 3rd octave, and more core or depth in the
sound. My belief is that the extra weight makes
the headjoint density thicker and the sound waves
respond quicker making the headjoint vibrate and
respond faster which in turn makes the flute
resonate and sound quicker -no delay.44
The aspect of greater mass enhancing the
resonance also works with the standard crowns made
of the heavier metals of gold, platinum, and other
materials. Mass however is not the only factor
enhancing resonance. Michael de Bruin spent
thousands of dollars trying to find out why the
Dyna® Flute System, which is not heavier than a
traditional stopper and crown, enhances the sound.
While no scientifically definitive answer was
discovered, when using the system, a significant
increase in the strength of the middle and lower
harmonics in the tone was measured. He speculates
that it has something to do with the regulation of the
vibration from plate to crown.45 The mass factor may
also work because of this effect. As for Bob Ogren's
use of two O-rings on a Delrin plastic cork, he says,
"The change in the sound it made… was like turning
a lightbulb on. The difference was fairly dramatic…It
still sounds like a flute. It's just got more power, and
clarity and response." 46
Risers. As mentioned above, risers are often made
of different materials such as gold and platinum,
which give additional characteristics and advantages
to the sounds and response of the flute. The
traditional riser is one which consists of full ring of
the same material which fits inside the lip plate.
Nagahara has created a more economical
implementation of these precious metals as he
explains:
The extended riser was created to give flutists an
economical option that did not require a whole lip
plate made of a higher cost material. With the
extended riser a flutist can have similar effects to that
of an all-gold or an all-platinum riser. The front
section of the riser (which is where the blowing edge
is) is extended over the lip plate so that the air reed
blows under and over the riser material. This allows
© 2009 Copyright by Melanie Sever Jordan
By Melanie Sever Jordan
for better control of the sound. Also, having a more
dense material once again adds more density on
headjoint. I created the front wall of the lip plate (the
blowing edge) thicker than the surrounding walls so
that the [densest] area is where the air hits directly.
Because the material is heavier, or harder, it vibrates
quicker and makes the metals around it vibrate
quicker too, creating better resonance. I believe that
the riser should be of stronger density and the rest of
the flute towards the foot joint of lesser density so
that the sound waves can be transported throughout
the instrument and then the flute can vibrate evenly
with the same force because the material won't slow
47
down the vibrations.
Ergonomics. There are also headjoints that
attempt to address the ergonomic challenges of the
flute in general for people who can no longer hold the
flute transversely because of physical limitations or
use injuries. Two versions of an innovative headjoint
design which allows the flute to be played vertically
are made by Sandy Drelinger and Maarten Visser.48
W
here to Go From Here. As you can see,
hunting for headjoints can be exciting,
interesting and …daunting. This article
has only scratched the surface of where the hunt for a
new headjoint will take you. A process that begins
with good information and resources will lead to
more satisfaction with your ultimate headjoint
selection. The marketing of headjoints has become so
intense and aggressive that it is vitally important to
find out for yourself what the claims being made
actually mean to you and your style of playing. Take
the time and opportunity to try as many different
makes as possible and keep track of what you have
tried and what does or does not appeal to you. Also,
an invaluable aid is to enlist the help of someone
whose ear you trust to give you consistent feedback
throughout the process.
A thorough knowledge of headjoints can help you
understand what you like and why. Understanding
the industry also helps to see past the marketing
hype. Knowing your needs as a player can guide your
selection process towards makers whose headjoint
characteristics fulfill those needs. If you play strictly
chamber music you will probably decide that your
needs differ from that of a flutist in a large orchestra.
Determining the characteristics that best align with
your preferences will allow you to ask more useful
questions along your search. Observing market trends
and the demands of professional players can guide
your sense for the best and most reliable products.
If you are interested in pursuing more information
on headjoints, the following steps may be useful:
Page 7
HEAD HUNTING
1) Go directly to the source. Flute and headjoint
makers love to share information about what
they know best. Take the opportunity at
conventions and regional flute fairs to speak
with as many makers as possible and to try as
many different headjoints as you can. How
do you find headjoint makers?
a. See the ads in flute related publications
(print and online) such as the Flutists
Quarterly, Flute Talk, Pan−The Flute
Magazine, and Flute Focus as well as
newsletters from many regional flute clubs.
b. Visit the exhibitor booths at annual large
conventions such as those sponsored by the
National Flute Association and British
Flute Society. Even smaller flute fairs
sponsored by regional flute clubs will
generally have dealers and some makers
exhibiting with a wide array of flutes,
related products, and most importantly,
good information.
2) Talk to other experts in the field. Resellers
and repair people often have insight into the
broader market without being tied to a
particular brand.
3) Read. Any of the sources in the bibliography
of this article, as well as the sources listed
within those, is a good place to find
information.
4) Search the Internet. Nearly every flute maker,
flute organization and many other
knowledgeable professionals in the field have
very extensive websites. There is a wealth of
information at the click of a mouse. Be
careful to verify the source of the information
and stick to well-known makers and wellrespected professionals.
5) Join a forum dedicated to the discussion of
flute making such as the Flutemakers group
at www.flutemakers.org.
After arming yourself with this knowledge, how
do you go about the actual process of trying new
headjoints? For more information on the process of
trying new headjoints you can refer to many makers'
websites which have great sections how to test new
headjoints.49 I have observed that every flutist starts
with an idea of what they already do sound like or
what they want to sound like and will actually make
every effort to make a new headjoint sound that way
at first before allowing the characteristics of the
headjoint to come through. Flutist and music
educator Roland Stycos suggests that you should,
"trust your ear rather than choosing a particular metal
© 2009 Copyright by Melanie Sever Jordan
By Melanie Sever Jordan
or manufacturer… Because the new headjoint may be
more resistant than the previous one…be patient and
allow several days … [to] learn to conform to the
specific characteristics of the headjoint."50 In
addition, when trying headjoints with any of the
small or large makers, they will do their best to assist
you in finding the most suitable headjoint for you.
From his extensive experience in working with
flutists through the years, Nagahara has this advice to
give:
Don't be afraid to take a risk when choosing a
new headjoint and do not choose a headjoint
which you find easy to play right away. This
means that you have nothing to work towards.
Although at the beginning a Gold or Platinum
headjoint might seem heavier to play (compared
to the silver), if you stick with it and practice with
it, you will improve as a player as it makes you
exercise your breath and embouchure control.
Also, give a headjoint some time before you
decide against it because initially nothing will feel
100% comfortable, but once you take time to get
used to it, you will have a better idea and you
might find that the gold/platinum headjoint will
open up paths for greater musicality and artistic
expression.51
I have found that most makers are truly interested
in matching the player and headjoint appropriately.
No maker will insist that the most expensive
headjoint is the best option for you if it truly isn't.
The best advertisement is, after all, a satisfied
customer.
It should be recognized that at some point, after
analyzing the technical aspects and narrowing down
the choices based on objective needs, a significant
aspect of choosing a headjoint is still a subjective
process. As a result, the 'perfect' headjoint that is all
things to all people will probably never be made. The
website of flute maker Trevor James sums this up,
"What can be said for certainty is that everybody's
face, jaw, lips and breathing are individual to
themselves. The only way to see which headjoint is
suitable is to try them."52 Merrow adds that you get
the most if you are willing to trust your own ears.53
This advice was echoed by every maker and industry
expert who contributed to this article.
After all of this groundwork, the fundamental
importance of the player's own preparation cannot be
overlooked. Flute maker Alton McCanless ponders
"Why, with all the infinitesimal parameters definable
in headjoints …(t)here can be a heavy layer of crud
in [the embouchure hole] and the owner still sounds
Page 8
HEAD HUNTING
By Melanie Sever Jordan
just as terrific as when the hole is clean?"54 This
comment from McCanless highlights the importance
of the player's capability. Swinkels underscores what
is perhaps ultimately most essential in this hunt. After
arming yourself with the best knowledge he states,
"in the end, or most importantly the beginning, there
is no replacement for good ears and embouchure. It
rarely works to find a headjoint that will do
something you cannot. The headjoint can help
compensate and make things better but cannot make
something happen that isn't there to begin with."55
Even after finding the 'perfect' headjoint, we may
all benefit from keeping in mind these insightful
words from the French master, Marcel Moyse, "I do
not ask you where you bought your instrument, I ask
you, where can I buy your leeps (lips)?"56
Melanie Sever (formerly Jordan) is a freelance musician flute
instructor at the University of WisconsinSuperior and privately. She has performed
professionally with the Duluth Superior
Symphony Orchestra, Lake Superior
Chamber Orchestra and USMC Bands. Her
article, "Head Hunting", has appeared in
Fluit (Netherlands), Flote Aktuell
(Germany), and www.flutefocus.com. MM,
University of MN-Duluth; BA, St. Olaf
College. See melaniesever.com.
Photo by B. Henson Photography.
ENDNOTES
1
Charles Andrews, email to Flute List mailing list
(April 4, 2009), [email protected]
(accessed April 4, 2009).
2
Ibid.
3
Sarah Merrow, email to author, April 19, 2009.
4
Albert Cooper, The Flute, 2nd ed. (London: Albert
Cooper, 1984), 29.
5
Sarah Merrow, interview by author, April 23, 2009.
6
Ibid.
7
Alexander Eppler, "An Interview with British
Flutemaker Albert Cooper," August 10, 1988, Eppler
Flute Company,
http://www.epplerflutes.com/interview.html
(accessed April 10, 2009).
8
Cooper, The Flute, 29.
9
Merrow, interview.
10
Verne Q. Powell Flutes, "Powell: The Flute," 2007
Product Brochure, www.vqpdealers.com,
http://Downloads/Powell%20Brochure%20Fall
%20202007.pdf (accessed April 10, 2009).
11
Sarah Merrow, "Headjoints: Mystery vs. Mastery,"
The Flutist Quarterly 33, no. 1 (Fall 2007), 63.
12
Merrow, email.
© 2009 Copyright by Melanie Sever Jordan
13
Tobias Mancke, email interview by author, April
19, 2009.
14
Dana Sheridan, email interview by author, April
19, 2009.
15
This is universal in nearly all major makes of flute
with the exception of the Nagahara Full Concert
model flute, a full explanation of which may be
found at
http://www.nagaharaflutes.com/flutes/fullconcert.htm
l.
16
Sheridan, interview.
17
Ibid.
18
Mancke, interview.
19
Ibid.
20
For additional information see the websites of these
makers. http://www.brannenflutes.com,
http://www.naharaflutes.com,
http://powellflutes.com.
21
Kanichi Nagahara, email interview by author,
September 8, 2009.
22
Nagahara, interview.
23
Peter Swinkels, online interview by author, March
4, 2009.
24
Merrow, interview.
25
J. James Phelan, The Complete Guide to the Flute
and Piccolo, 2nd ed. (Shirley, MA: Burkart-Phelan
Inc., n.d.), 118.
26
Merrow, interview.
27
Peter Swinkels, interview.
28
Kanichi Nagahara, inventor, "US Patent 5844156 –
Headjoint for a Flute," Patent Storm, US Patent
issued December 1, 1998,
http://www.patentstorm.us/patents/5844156/descripti
on.html (accessed April 11, 2009).
29
Phelan, The Complete Guide to the Flute and
Piccolo,105.
30
Cooper, The Flute, 29.
31
Sheridan, interview.
32
Drelinger Headjoint Co., "The Headjoint
Specialist: Most Commonly Asked Questions,"
http://www.drelinger.com/qanda1.htm#6 (accessed
April 12, 2009).
33
Nagahara, interview.
34
Trevor James, "General Flute Information:
Headjoints", Trevor James Flutes,
http://www.trevorjames.com/PDFs/PDF_Flute%20H
eadjoints.pdf (accessed April 10, 2009).
35
Merrow, 63-64.This article can be found on Ms.
Merrow's website at www.syrinxflute.com.
36
Merrow, interview.
37
Trevor James, website.
38
Nagahara, interview.
39
Drelinger, website.
Page 9
HEAD HUNTING
40
Roland Stycos, "Shopping for a New Headjoint,"
Flute Talk 24, no. 4 (December 2004), 15.
41
Mancke, interview.
42
Ibid.
43
For further information on these crown and stopper
assemblies see
http://www.nagaharaflutes.com/headjoints/crown.htm
l, http://www.bigio.com/stoppersandcrowns.html,
http://dynaflutessystem.com,
44
Nagahara, interview.
45
Michael de Bruin, interview by author, NFA
Convention, New York, NY, August 13, 2009.
46
Richard Mial, "Love of Music Leads to Lifetime of
Instrument Repair", California Chronicle (August 10,
2009)
http://www.californiachronicle.com/articles/yb/13395
2327 (accessed August 24, 2009).
47
Nagahara, interview.
48
Descriptions of these vertical playing headjoints
can be found at www.drelinger.com and
www.flutelab.com.
49
Makers such as www.trevorjames.com and
www.drelinger.com/suggest.htm have extensive
question and answer sections which suggest a nonbiased approach to testing headjoints.
50
Stycos, 15.
51
Nagahara, interview.
52
Trevor James, website.
53
Merrow, interview.
54
Alton McCanless, email to Flute List mailing list
(December 10, 1996), [email protected]
(accessed May 10, 2009).
55
Swinkels, interview.
56
Susan S. Fries, My Teacher: Remembering Marcel
Moyse (Bloomington, IN: AuthorHouse, 2007), 68.
WORKS CITED
Cooper, Albert. The Flute. 2nd ed. London: Albert
Cooper, 1984 (p. 29).
Drelinger Headjoint Co. "The Headjoint Specialist:
Most Commonly Asked Questions."
http://www.drelinger.com/qanda1.htm#6
(accessed April 12, 2009).
Fries, Susan S. My Teacher: Remembering Marcel
Moyse. Bloomington, IN: AuthorHouse,
2007 (p. 68).
© 2009 Copyright by Melanie Sever Jordan
By Melanie Sever Jordan
James, Trevor. "General Flute Information:
Headjoints." Trevor James Flutes.
http://www.trevorjames.com/PDFs/PDF_Flu
te%20Headjoints.pdf (accessed April 10,
2009).
Mial, Richard. "Love of Music Leads to Lifetime of
Instrument Repair." California Chronicle
(August 10, 2009).
http://www.californiachronicle.com/articles/
yb/133952327 accessed August 24, 2009.
Merrow, Sarah. "Headjoints: Mystery vs. Mastery."
The Flutist Quarterly 33, no. 1 (Fall 2007):
63-64.
Nagahara, Kanichi, inventor. "US Patent 5844156 –
Headjoint for a Flute." Patent Storm. US
Patent issued December 1, 1998.
http://www.patentstorm.us/patents/5844156/
description.html (accessed April 11, 2009).
Phelan, J. James. The Complete Guide to the Flute
and Piccolo. 2nd ed. Shirley, MA: BurkartPhelan Inc., n.d. (pp. 105, 118).
Stycos, Roland. "Shopping for a New Headjoint."
Flute Talk 24, no. 4 (December 2004): 15.
Verne Q. Powell Flutes. "Powell: The Flute." 2007
Product Brochure. www.vqpdealers.com.
http://Downloads/Powell%20Brochure%20F
all %20202007.pdf (accessed April 10,
2009).
INTERVIEWS AND EMAILS
Andrews, Charles. E-mail to Flute List mailing list.
April 4, 2009. [email protected]
(accessed April 4, 2009).
Bruin, Michael de. Interview by Melanie Sever
Jordan, National Flute Association
Convention, New York, NY, August 13,
2009.
Eppler, Alexander. "An Interview with British
Flutemaker Albert Cooper." August 10,
1988. Eppler Flute Company.
Page 10
HEAD HUNTING
By Melanie Sever Jordan
http://www.epplerflutes.com/interview.html
(accessed April 10, 2009).
McCanless, Alton. Email to
[email protected]. December
10, 1996. Accessed May 10, 2009.
Mancke, Tobias. Email interview by Melanie Sever
Jordan. April 19, 2009.
Merrow, Sarah. Telephone interview by Melanie
Sever Jordan. April 23, 2009.
Merrow, Sarah. E-mail to Melanie Sever Jordan.
April 19, 2009.
Nagahara, Kanichi. Email interview by Melanie
Sever Jordan, September 8, 2009.
Sheridan, Dana. Email interview by Melanie Sever
Jordan. April 19, 2009.
Swinkels, Peter. Online interview by Melanie Sever
Jordan. March 4, 2009.
© 2009 Copyright by Melanie Sever Jordan
Page 11